EXPOSE 


OF 


EXCEPTIONAL 
EXPRESSIONISM 


Chicago  Literary  Club 

February  28 

1898 


Digitized  by  the  Internet  Archive 

in  2010  with  funding  from 

CARL!:  Consortium  of  Academic  and  Research  Libraries  in  Illinois 


http://www.archive.org/details/catalogueofexpreOOchic 


CATALOGUE 

OF 

Expressionist  Pictures 

BY 

MEMBERS  OF  THE 

CHICAGO  LITERARY  CLUB 

EXPOSED 

in  the  club  rooms 

Monday  Evening,  February  28,  1898 

and  not  to  be  spoken  of 

ELSEWHERE 

LEST  THE 

DIGNITY  OF  THE  CLUB 

BE    DEROGATED 


CHiCAGO      ] 
HISTORICAL   1 
SOCIETY 


I  hereby  certify  that  all  the  pictures  described 
in  this  catalogue  are  original  works.  There  are 
no  replicas.  All  are  for  sale.  For  prices,  apply 
at  the  desk. 

Walter  L.  Fisher, 

Chairman. 


,    ^O 


DEACCESSIONED  BY 

CHICAGO  HISTORICAL  SOClETt 

PRINTED  COLLECTION'S 


A   PRELIMINARY  EXPRESSION. 

That  which  is  good,  needs  for  the  spiritually  initiate 
no  demonstration;  albeit  to  the  unillumined  soul  it  must 
per  force  be  oft  times  a  by-word  and  a  cause  of  stumbling. 
This  brief  foreword,  then,  shall  utter  no  note  of  apology, 
no  sound  of  labored  argument.  The  rather  shall  it  seek, 
by  discriminating  analogy  and  subtile  suggestion,  to 
enhance  the  perfection  of  goodness,  to  heighten  the 
charm  of  beauty,  and  to  encourage  the  truly  initiate  to 
discern  goodness  and  beauty  hidden  in  that  which  to  the 
unanointed  eye  is  but  commonplace  and  homely. 

Already  there  have  arisen  those  who  have  told  the 
English  people  that  pcfetry  is  inherent  in  the  life  of  the 
peddler  as  well  as  of  the  prince,  and  that  the  turning  of 
an  ass'  ears  on  the  pivot  of  its  skull  may  quite  as  well 
bespeak  the  sublime  as  does  the  rolling  of  the  earth  upon 
its  axis  and  the  spinning  of  the  stars  along  their  pathless 
paths.  Sic  Wordsworth  over  seas,  and  not  less  loudly 
this  side  of  the  ocean  Whitman,  "  the  good  gray  poet," 
with  his  tables  of  contents  of  towns,  his  catalogues  of 
show  windows  and  his  worship  of  the  unwashed  body. 

Already  there  has  been  heard  a  voice  from  the  wilder- 
ness proclaiming  the  downfall  of  the  "  Crumbling  Idols  " 
of  the  old  world  literatures  with  their  classic  warriors, 
their  medieval  knights,  their  modern  princelings  and  their 
outlandish  garb.  Shall  we  longer  pretend  to  read  Homer, 
to  con  Dante,  to  wade  through  Goethe,  to  enjoy  Shake- 
speare ?  They  are  not  of  us  or  for  us,  cries  this  voice  of 
the  wilderness;  their  ways  are  not  our  ways,  nor  are  their 
thoughts  our  thoughts;  let  us  away  with  their  epics  and 


their  tragedies,  their  tales  and  their  romances ;  let  us  at 
length  loudly  forswear  them — yea,  and  also  their  eternal 
imitators  who  concoct  diluted^classics,  and  who,  when  too 
empty  even  to  concoct  a  6oth  dilution,  besiege  us  with 
unnumbered  essays  in  criticism  and  helps  toward  the 
appreciation  of  the  classics.  Away  with  them  all.  Obli- 
vion yawns  for  them,  and  because  of  them  we  also  yawn. 
Sic  Hamlin  Garland—''  our  Ham,"  as  Armour  fondly 
calls  him.  Has  not  his  voice  once  and  for  all  told  us  that 
here  in  this  new  world  we  are  to  find  our  own  subject- 
matter  for  literature  ?  Not  outworn  myths,  not  fantastic 
romances,  but  themes  from  the  life  about  us.  That  the 
"  salt  estranging  sea"  has  freed  us  from  the  old  world;  and 
not  merely  this,  but  that  the  Alleghany  Mountains  have 
cut  the  west  off  from  the  east,  that  we  of  the  middle  west 
are  to  grow  our  own  literature  on  our  prairies,  to  find  it  in 
the  cottages  of  our  western  towns,  to  discover  it  germinat- 
ing in  Chicago's  streets,  plethoric  of  plot  and  more  pro- 
lific of  incident  than  our  lake  is  of  bacteria.  And  the 
summation  of  this  doctrine  is  that  poetry  is  the  idealiza- 
tion of  the  actual  {i.  e.,  of  the  commonplace),  and  that 
literature  is  the  offspring  of  the  local.  Wherein  "our 
Ham "  treads  very  close  on  the  heels  of  Mr.  Matthew 
Arnold,  who  said,  "  Literature  is  the  criticism  of  life." 
But  Ham  would  rather  be  switched  than  be  told  this,  for, 
if  there  is  one  thing  that  he  despises  more  than  another, 
it  is  such  second-hand  and  fossilized  culture  as  is  cher- 
ished at  Rugby  and  Oxford. 

Nor  is  it  less  true  that  sculpture  and  painting  are 
proper  media  for  the  expression  of  the  commonplace  and 
the  local.  To  the  spiritually  initiate  the  good  is  seen 
beneath  the  uncouth,  and  beauty  coyly  walks  in  homely 
garb.  The  new  world  hath  her  own  charms  awaiting  only 
the  anointed  eye.  Oh,  most  sapient  Teufelsdrockh!  Here 
or  nowhere  is  our  America,  if  we  could  but  see!  If  Italy 
has  her  Tiber,  has  not  Chicago  also  her  perfumed  river  ? 
If  Rome  has  the  ruins  of  her  Colosseum,  has  not  Chicago 
the  fresher  ruins  of  its  own  ?  If  Athens  has  its  crumbling 
Parthenon,   has    not    Chicago  its    county   building?     If 

4 


Rome  has  its  Appian  Way  lined  with  empty  tombs,  has 
not  Chicago  its  Cottage  Grove  Hned  with  empty  flats? 
If  the  Romans  had  their  aqueducts  bestriding  the  land 
with  mighty  steps,  have  we  not  elevated  roads  straddling 
our  streets  with  iron  feet  ?  If  the  Acropolis  had  its  Tem- 
ple of  Vesta,  emblem  of  modesty,  nestling  close  to  earth, 
has  not  State  Street  its  Masonic  Temple,  emblem  of  nerve, 
frightening  the  skies  ?  If  the  ghosts  of  unsung  tragedies 
haunt  the  little  morgue  on  the  Seine,  what  tails  have 
been  silently  packed  away  in  those  stock  yards  abattoirs  ? 
Doth  not  the  picturesque  lurk  behind  every  hoarding? 
Do  our  streets  not  reek  with  beauty  ?  But  where  is  the 
apostle  of  local  art  ?  Following  "  our  Ham,"  many  voices 
have  been  raised,  on  farms  and  elsewhere,  in  the  name  of 
local  letters,  but  hitherto  there  lacks  an  effective  voice 
for  the  proclamation  of  this  truth — that  there  are  almost 
inexpressible,  hitherto  undepicted,  beauties  in  our  west  as 
nature  has  made  it,  in  our  cities  as  we  have  made  them,  in 
ourselves  as  we  are  (and  are  bound  to  be.) 

The  C.  L.  C.  is  cognizant  of  the  need.  The  C.  L.  C. 
has  long  been  a  pioneer  in  letters,  in  which  field  it  has 
sturdily  maintained  that  golden  silence  praised  so  loud 
and  long  by  Carlyle.  The  C.  L.  C.  further  recognizes  the 
essential  unity  of  art  ;  it  well  knows  that  the  world's 
great,  from  Angelo  to  Hop.  Smith,  have  builded  domes 
or  dams,  writ  sonnets  or  stories,  drawn  cartoons  or  drafts, 
painted  frescoes  or  landscapes.  It  has  seen  the  vision, 
knows  the  way,  and  will  at  any  cost  follow  its  nose.  It  is 
therefore  in  the  pursuance  of  this  plain  duty  to  the  plastic 
and  pictorial  arts  that  the  C.  L.  C.  to-night  turns  aside 
from  literature  and  invites  candid  and  serious  contempla- 
tion of  its  first  exhibition  of  native  art.  Its  members  have 
themselves  wielded  the  brush,  the  crayon,  the  point,  the 
pen,  the  chisel ;  they  have  assiduously  sought  beauty  in 
back  streets  and  up  alleys,  along  the  river  and  in  the 
mart,  and  wherever  the  busy  hum  of  humanity  indicates 
that  human  destiny  is  in  the  making.  For  when  human 
action  and  local  color  are  lovingly  portrayed,  then,  and 
then  only,  shall  we  have  true  art,  a  genuine  expressionist 
art. 

5 


Even  a  casual  observer  will  note  a  wide  range  of  style, 
for  the  expressionist  painter  is  not  the  slave  of  any  tech- 
nique or  the  mechanical  product  of  petrified  schools  with 
withering  formulae.  Everywhere  the  keen  observer  will 
note  that  the  emphasis  is  to  be  placed  on  the  choice  of 
and  the  expression  of  the  idea.  Poetry  has  been  defined 
as  "  truth  fused  by  the  fire  of  emotion  "  ;  so  the  plastic 
and  pictorial  arts  may  most  fitly  be  defined  as  "  the  con- 
fusing of  beauty  by  the  fire  of  individual  thought,"  and  a 
work  of  art  as  "  a  spiritual  theme  that  has  been  cast  by 
the  white  heat  of  the  artist's  thought  in  a  tangible,  con- 
crete form — a  sort  of  visual-ideal  red-hot."  Studied  in 
the  light  of  these  definitions  and  this  foreword,  the  pic- 
tures placed  on  exhibition  to-night  will  offer  no  difficulty 
to  the  aforesaid  illumined  soul. 


CATALOGUE 


Leake,  Joseph  Bloomfield 

Born,  Iowa,  when  very  young^.  Studied  in  the  famous  school 
of  Napoleon.  Medal  of  Honor  in  1850,  for  Extraordinary  Pre- 
cocity. 

I.     DESIGN   FOR  A  CLUB   EMBLEM. 

''  This  superb  design  fills  a  long- felt  want.  Especially 
should  it  be  commended  to  the  pious  consideration  of  the 
younger  members  of  the  Club,  whose  disposition  to  drag 
down  the  solemn  traditions  of  our  venerable  past  by 
ignoble  and  unseemly  levity  cannot  be  too  strongly  repro- 
bated." Slason  Thompson. 


Fiske,  George  Foster 

Born  in  the  springtime.  Studied  at  the  Chicago  Athletic  Asso- 
ciation, the  Presbyterian  Hospital,  and  on  the  Onwentsia 
lyinks.  A  promising  Disciple  of  the  School.  Author  of  the 
well-known  book,  "The  Everlasting  Aye,  the  True  Basis  ot 
Art." 

2.     AN    OPERATION. 

"  This  work  can  justly  be  classed  with  the  masterpieces 
of  modern  realism.  In  it  the  painter  portrays  himself  in 
the  act  of  performing  an  entirely  novel  operation  on  the 


eye-ball,  viz.:  Golforotomy.  The  bulbus  is  exposed,  the 
ingeniously  constructed  Golfotome  is  ready  to  do  its  bloody 
work.  That  the  fearless  surgeon  will  hole  out  is  not  to  be 
doubted.     He  is  indeed  an  ornament  to  his  sex." 

Edwin  James  Gardiner. 


High,  James  Lambert 

Pupil  of  Isaac  Walton.    Author  of  "  The  Landscape  Lover's 
Handbook,"  also  of  "Critique  on  the  Ars  Poetica  of  Horace." 

3.     THE  SEATS   OF   THE   MIGHTY. 

A  DESIGN  FOR  A  BOOK   COVER. 

"  Doubtless  no  better  index  is  afforded  to  the  breadth 
and  elevation  of  public  taste  in  Chicago  than  the  fact 
that  a  busy  fisherman  like  James  L.  High  should  desert 
the  breakwater  at  Fourteenth  Street  for  a  season  and  de- 
vote himself  to  the  designing  of  book-covers.  And  with 
what  signal  success  in  this  unexpected  field !  How  charm- 
ing the  conceit !  What  fine  disposition  of  the  masses ! 
How  adequate  the  rendering !  In  my  whole  India  pil- 
grimage I  saw  nothing  more  excellent,  though  I  travelled 
fifty  thousand  miles  and  delivered  forty-nine  lectures." 

John  Henry  Barrows. 


Jones,  David  Benton 

Claims  to  have  been  a  pupil  of  Carol  us  Duran,  and  to  have  been 
fond  of  Munich  secessionists  and  Pschorrbrau. 

4.  PORTRAIT  OF  GEN.  GEORGE  W.  SMITH. 

(1863.) 
"The  artist  has  gotten  down  to  his  subject  and  has 
used  his  colors  vividly  ;  but   we  cannot  furnish  literary 
light  and  heat  gratis,  even  for  soldiers." 

AZEL   FaRNSWORTH   HATCH. 


Dauchy,  George  Kellogg 

5.     PORTRAIT    OF    CAPTAIN    ALEXANDER    C. 
McCLURG. 

(1862.) 

''  This  picture  shows  great  technical  skill  in  the  use  of 
colors  and  proper  subordination  of  details  to  the  theme. 
The  finely  chiseled  features  portrayed  compare  well  with 
those  older  heroes,  the  Dearborns." 

Daniel  Goodwin. 


Waterman,  Arba  Nelson 

Pupil  of  Blackstone  and  Buddha.    Also  has  travelled  in  For- 
eign Lands. 

6.     PORTRAIT   OF   HENRY   V.  FREEMAN. 

(1863.) 

"  The  artist  shows  a  symptomatic  diathesis,  indicating 
a  determination  of  the  circulation  to  the  capitibranchiates. 
This  exposes  a  high  order  of  genius." 

Henry  Payson  Merriman. 


Locke,  Clinton 

Born,— well,  no  matter  when.  Studied,— well,  no  matter  about 
that  either,  as  it  is  doubtful.  Professor  of  Biblical  Anectodiana 
in  the  Western  Theological  Seminary,  Prairie  Avenue. 

7.     FIRST   COMMUNION. 

"  This  picture  shows  a  fine  intuition  and  delicate  sym- 
pathy strangely  at  variance  with  the  well  known  austere 
and  ascetic  character  of  the  artist.  The  central  fore- 
ground of  the  picture  shows  much  taste  and  is  touchingly 
depicted."  William  Wallace  Fenn. 


MacVeagh,  Franklin 

Pupil  of  Tom  Nast.    Studied  with  Dexter  Bros,  and  with  the 
National  Bill  Board  Advertising  Co. 

8.     RIENZI,    THE  TRIBUNE    OF   THE    PEOPLE. 

A  CARTOON. 

" This  is  a  vile  piece  of  drawing  or  I  am  no  anatomist; 
and  the  motive  is  as  bad  as  the  technique.  I  am  short  on 
the  history  of  Rienzi ;  but  I  seem  to  remember  in  a  vague 
way  that  he  sold  out  the  people  or  something  of  the  sort. 
I  can't,  for  the  life  of  me,  see  why  so  capable  a  man  as 
MacVeagh  doesn't  learn  to  draw  people.  By  the  everlast- 
ing grippe,  I  would,  if  I  had  as  much  sugar  and  molasses 
and  leisure  as  he  has  ;  if  he'll  come  to  me  I'll  write  him  a 
prescription  for  it."  Frank  Billings. 

S}4.     "EASY  LIES  THE  HEAD  THAT  WINS  RE- 
RENOWN." 

"  The  chiaroscuro  is  wonderful,  the  figures  stand  forth 
from  the  gloom  with  rare  luminosity,  and  the  work  is  full 
of  atmosphere.  But  I  can't,  for  the  life  of  me,  see  why 
MacVeagh  doesn't  choose  a  subject  that  has  something  to 
do  with  civil  service  or  the  municipal  voters'  league." 

Edwin  Burritt  Smith. 


Freeman,  Henry  Varnum 

Born  in  Gettysburg,  Penn.,  July  i6,  1S39.  Studied  at  West 
Point  and  Antietam.  Elected  President  of  the  Expressionist 
League,  1S97. 


9.     GLIMPSES   OF   OLD   COLONY   LIFE. 

''Perhaps  the  Judge  thinks  that  the  incident  so  admir- 
ably depicted  was  so  purely  a  colonial  one  that  no  reason 
is  of  necessity  indicated  for  the  infliction  of  the  punish- 
ment.    If  so  his  historical  accuracy  is  to  be  questioned, 


CHICAGO      I 

t  1 1  <:> -f- -^i  tT' !  "^  A  ! 

sr  .  _         \ 

for  we  have  known  even  in  our  own  early  days  (and  this  is 
corroborated  by  a  reference  to  our  father)  that  such  a  form 
of  discipline  had  not  become  extinct.  We  think  that  the 
Judge  would,  however,  have  issued  a  writ  of  error,  a  habeas 
corpus,  or  at  least  a  stay  of  proceedings,  if  the  case  had 
been  more  thoroughly  and  judicially  investigated." 

Henry  Sherman  Boutell. 

lo.    APPOLINARIS. 

"  The  painting  is  fine  ;  that  cannot  be  gainsaid.  But 
the  title  given  to  it  by  the  artist  is  most  absurd.  I  shall 
never  believe  that  Appolinaris  had  anything  to  do  with  it 
until  1  have  some  real  proof."  J  AMES  L.  High. 


Otis,  Ephraim  Allen 

II.  PORTRAIT  OF  GEORGE  KELLOGG 

DAUCHY. 

(1863.) 

"The  background  of  this  picture  is  superb,  but  some- 
what too  much  cumbered  with  details.  Especial  notice 
should  be  taken  of  the  delicate  blue  tints." 

Pliny  B.  Smith. 


McClurg,  Alexander  Caldwell 

Pupil  of  Detaille.  Student  at  Fisher's  Garden  and  the  Colum- 
bian Museum.  Easily  the  Foremost  Military  Painter  of  the 
North  Side. 

12.     THE   TAKING   OF   LUNGTUNGPEN. 

"  It  has  rarely  been  the  case  that  men  of  great  military 
experience  have  been  likewise  painters  of  military  scenes. 
This  happy  combination  is  found  but  once  on  the  North 
Side,  and  in  the  person  of  my  distinguished  fellow- citizen. 
Gen.  McClurg.  It  is  not  strange  that  so  brilliant  an  officer 
should  have  been  captivated  by  so  dashing  an  exploit  as  is 


here  depicted ;  but  I  fancy  that  an  attraction  even  more 
subtile  led  to  the  selection  of  this  scene.  Scarcely  in  the 
entire  Union  armies  was  there  another  officer  so  immacu- 
late in  appearance  as  Gen.  McClurg,  and  never,  I  believe, 
in  all  military  history  was  a  hazardous  enterprise  pushed 
to  so  triumphant  a  conclusion  by  so  immaculate  a  band  of 
soldiers — '  ivry  wan  av  thim,'  as  Private  Mulvaney  said, 
'clad  like  Vanus  herself.'  It  is  not  for  me,  a  disciple  of 
Steuben  and  of  Blackstone,  little  skilled  in  the  niceties  of 
artistic  rendering,  to  criticise  this  great  painting  on  its 
technical  side.  But  even  to  the  inexpert  its  masterful 
quality  is  manifest.  None  but  an  artist  of  consummate 
imaginative  quality  could  have  conceived  so  perfectly  an 
unvisited  foreign  scene.  None  but  an  artist  with  excep- 
tional literary  talent  could  have  depicted  so  happily  the 
town  of  Lungtungpen.  The  colors  are  as  natural  as  Ca- 
bot's shingle  stains ;  the  water  is  unmistakable,  and  the 
Venus-like  aspect  of  the  soldiers  is  rendered  with  a  touch 
worthy  a  Praxiteles  or  a  Taf  t.  I  sincerely  hope  that  some 
millionaire  member  of  the  C.  L.  C.  will  purchase  this 
masterpiece  and  present  it  to  the  Club." 

Ephraim  a.  Otis. 


Furness,  William  Eliot 

Pupil  of  Shadrach  and  Meschack.  Graduate  student  at  Har- 
vard Annex.  First  Medal  at  Steenth  Annual  Conclave  of  the 
Brotherhood  of  American  Sign  Painters. 

13.  PORTRAIT  OF  MAJ.  GEORGE  L.  PADDOCK. 

"  I  had  to  rub  my  hands  with  delight  at  this  striking 
likeness;  but  really  it  is  very  fearsome  in  its  heroic  grand- 
eur, and  my  suggestion  is  a  sip  of  weak  tea  to  brace  your 
nerves  before  viewing  this  counterpart  of  the  ferocious 
chieftain,  whose  fiery  eye  is  one  of  the  characteristic  de- 
tails of  the  product  of  the  Furness  in  which  the  work  was 
wrought.  The  horse  on  which  the  Major  should  be 
mounted  escaped  from  the  Paddock  during  the  sitting,  so 


does  not  appear  on  the  canvas.  The  violent  colors  of  this 
artist  are  too  exhausting  for  a  long  view,  so  I  advise  you  to 
pass  quickly  to  some  restful  theme  like  Washington's 
serene  countenance."  Thomas  Dent. 


Paddock,  George  Laban 

14.     PORTRAIT    OF     MAJOR    WILLIAM     ELIOT 
FURNESS. 

"  This  is  cute — very  cute.  A  cocky  young  chap.  The 
portrait  is  good,  though  the  coloring  is  sombre.  Taken  as 
a  whole  it  is  a  peach."  Martin  D.  Hardin. 

"  A  soldier  true — in  blue. 
Does  it  appeal  to  you  ? 

Why  not  ? 
Should  those  who  risked  their  lives 
And  relatives  of  wives 
Be  e'er  forgot." 

Alexander  C.  McClurg. 


Pond,  Allen  Bartlit 

Bom  in  Ann  Harbour.  Lit  out  for  Chicago  when  his  legs 
grew  long  enough.  LLL-D.  (Long-legged  Literary  Dabster), 
Michigan. 

15.    ANCESTRAL  RECOGNITION. 

"  It  gives  countenance  to  an  un-American,  and,  there- 
fore, highly  reprehensible  sentiment,  but  the  colouring  is 
a  dream  of  delight."  Edgar  A.  Bancroft. 


Barrows,  John  Henry 

16.     THE   LIGHT   OF  ASIA. 

"  From  the  far  East  it  comes  serene  and  mystic,  teach- 
ing the  truth  of  beauty,  and  the  beauty  of  truth.     Our 

13 


Western  artist  caught  the  spiritual  nature  of  the  cultured 
ethical,  as  well  as  the  color  style  of  the  Orient." 

William  M.  Salter. 


Greeley,  Samuel  Sewall 

17.     A  SUN   SURVEY. 

"A  splendid  subject,  typically  Western  and  full  of 
resonant  colour.  Not  satisfied  alone  with  a  survey  of 
earth,  our  artist  reaches  out  to  the  great  orb  of  the  heavens 
and  triangulates  it  to  our  complete  aesthetic  satisfaction, 
making  it  commensurate  with  the  needs  of  our  two  million 
eager  souls.  What  grand  lines !  The  straight  horizon 
and  the  endless  curve  which  only  a  metric  system  could 
measure!  It  is,  indeed,  elemental !  Art  can  go  no  further. 
Science  in  harmony  with  art  or  the  marriage  of  the 
straight  line  with  the  curve  finds  its  poetic  realization  in 
this  truly  touching  canvas."         Frederick  Greeley. 


Fay,  Charles  Norman 

Graduate  of  Vassar.  Pupil  of  Lord  Chesterfield.  Frequent 
Honorable  Mention  by  the  world's  fair.  Highest  Medal  for 
Decorative  Design  at  Exhibition  of  Chicago  Woman's  Club, 


18.     THE  GENTLE  HUNTER. 

''  What  a  vivifying  sense  of  human  range  and  possibil- 
ity we  feel  when  such  an  accomplished  chevalier  as  Mr. 
Norman  Fay  turns  aside  from  the  conduct  of  great  indus- 
trial enterprises  and  from  the  enticements  of  the  beau 
monde,  and  in  the  fullness  of  his  manhood  sets  his  face  to- 
ward art,  in  search  of  another,  and  this  the  highest,  world 
to  conquer.  And  of  a  truth  he  shall  conquer.  He  has 
but  to  bend  to  the  expressing  of  beauty  the  same  deft 
touch  with  which  he  laid  pipe  and  strung  wires,  and  the 
victory  is  his.     Behold,   too,  how  wisely  he  chooses  his 

14 


theme  from  the  actual !  What  a  fetching  quality  has  this 
charming  canvas !  How  beautiful  the  sight  of  this  gentle 
Hunter  going  forth  in  the  glow  of  his  youth  and  in  the  glad- 
someness  of  the  springtime  !  What  manner  of  game  seeks 
he  ?  The  mating  birds  are  not  afraid ;  the  rabbits  dance 
about  in  glee  !  How  now !  See  I  right  ?  Oh,  maid,  be- 
ware !  the  gentle  Hunter  comes !  I  thought  I  was  beyond 
all  that ;  but,  hang  me,  I've  the  confoundedest  notion  to 
set  out  to-morrow  on  a  similar  hunting !" 

George  H.  Holt. 


Glessner,  John  Jacob 

Fellow  of  Oshkosh  Society  of  Fine  Arts.    Honorable  Mention 
at  Baraboo  for  "  Ruth  "  and  "  Harvest  Home." 


19.     PORTRAIT  OF  PRESIDENT  HARPER. 

''There  is  an  elegance  and  grace  about  this  portrait, 
which,  taken  together  with  the  breadth  of  treatment  shown, 
makes  it  a  masterpiece.  The  intimation  of  the  life  work 
of  the  portraitee  is  so  delicate  and  unobtrusive  that  it  does 
not  detract  from  the  general  effect  by  too  great  realism ; 
and  yet  it  is  clearly  suggested  that  money  is  the  standard 
oil  for  the  wheels  of  universities. 

Walter  Cranston  Larned. 


Taylor,  Thomas,  Jr. 

Born  in  Madagascar,  1865.    Pupil  of  Kamehameha  the  Second. 

20.    UTOPIA. 

"  The  true  meaning  of  Utopia  is  that  state  or  condition 
which  we  all  want,  and  how  well  the  artist  has  indicated 
this  want  every  man  of  us  can  testify.  His  delicacy  of 
feeling,  too,  in  leaving  to  each  one's  imagination  (imagina- 
tion is  emblemized  by  the  parasol)  the  exact  condition  de- 

15 


picted,  is  true  art,  whether  it  is  better  to  be  about  to  kiss, 
to  be  kissing  or  to  have  kissed  once  with  such  a  cinch  on 
the  subject  that  you  can  kiss  again,  shows  us  the  highest 
pictorial  art  well  tempered  by  a  divine  philosophy." 

MuRRY  Nelson,  Jr. 


Rosenthal,  Julius 

studied  with  the  "Spread-Eagle  Photo-Engraving  Co.,"  and 
the  "Terre  Haute  Chromo-Lithographic  Pub.  Co." 

21.     PORTRAIT  OF  EDWARD  G.  MASON  IN  HIS 
LIBRARY. 

"I  always  suspected  that  Rosenthal  had  talent  of  some 
kind."  Selim  H.  Peabody. 

"The  legal  acumen  of  the  painter  is  shown  in  his  ap- 
prehension of  the  fact  that,  in  writing  history,  time  is  not 
of  the  essence  of  the  contract." 

George  A.  Follansbee, 

"  Mason  ought  to  patent  his  double-automatic  roller 
device."  James  H.  Peirce. 


"Wait,  James  Joseph 

Pupil  of  the  Chicago  Manual  Training  School  (where  his 
draughtsmanship  in  the  upper  registers  was  considered  espe- 
cially effective.) 

22.    MY  BARQUE  IS  ON   THE   HIGH   SEA. 

"James  J.  was  successfully  raised  in  his  father's  studio, 
and  is  one  of  that  notable  family  of  heavy  Waits  who  do 
everything  on  an  immense  scale — whose  work  is  always 
high  pitched.  This  canvas  is  no  exception  to  the  rule. 
There  is  in  it  a  universality  of  sentiment  and  a  soundness 
which  appeals  to  the  human  passions,  especially  when  it 

i6 


steals  upon  one  in  the  (otherwise)  silent  watches  of  the 
night.  That  dainty  barque  dancing  so  lightly  and  grace- 
fully on  the  ethereal  waves  of  sound — and  yet  tugging 
under  restraint,  presents  the  entire  problem  of  human 
destiny,  and  makes  one  to  wonder  if  ever  he  sausage  meat 
for  reflection  in  the  work  of  any  other  artist.  There  might 
be  unfolded  the  special  tail  which  lies  at  the  bottom  of 
this  special  subject,  but  space  forbids  and  you  have  your 
imaginations  with  you."  Henry  H.  Belfield. 

Burnham,  Daniel  Hudson 

student  of  Greece  and  Rome.  Chief  of  Construction,  and 
Medal  awarded,  World's  Columbian  Exposition,  Chicago,  1893. 
IvI,.  D.,  Prince-j^ard  ;  D.  D.,  McCormick  Semetery;  Professor  of 
Poetry,  Artinstitute,  Chicago  ;  G.  O.  M.  of  Architecture,  by 
general  acclaim. 

23.  THE  LOVERS;  OR,  SENTIMENT  IN  ARCHI- 

TECTURE. 

''  Into  this  composition  has  crept  (for  I  believe  the  art- 
ist in  this  '  builded  better  than  he  knew ')  a  delicious  sen- 
timent which  may  be  described  as  the  'very  ecstasy  of 
love.'  The  representation  of  manly  strength  and  inde- 
pendence and  womanly  grace  and  tenderness  is  exquisite 
beyond  the  power  of  words  to  express,  and  can  be  realized 
only  in  massive  unrelenting  iron  and  stone  and  yielding 
clay  and  iron,  all  fused  in  the  artistic  crucible  of  one  who, 
sleeping  or  waking,  has  drunk  in  through  the  pores  of  his 
epidermis  the  poetry,  the  love,  the  light,  the  very  essence 
of  beauty,  until  his  very  essential  being  is  in  soak.  Carp- 
ing critics  say  this  artist  is  not  poetical,  but  I  say  that  he 
is  nothing  if  not  poetical.     In  hoc  signo  vincit." 

Joseph  L.  Silsbee. 

24.  A   MIRAGE. 

All  hail,  Father  of  the  White  City,  another  triumph 
crowns  thy  brow  with  laurels  ! 

What  breadth  of  effect — what  knowledge  of  values — 

17 


subordination  of  self — restraint  and  true  artistic  modesty 
characterizes  this,  Mr.  B.'s  latest  and  best  ? 

It  is,  as  it  were,  a  composite  photograph,  in  color,  re- 
vealing to  the  educated  eye  the  best  of  the  Patton,  Mont- 
gomery Ward,  Ellsworth,  and  other  choice  designs  which 
are  available  (not  being  copyrighted).  It  is  in  the  formal 
Italian  style,  relieved  by  a  profusion  of  statuary  designed 
with  the  chaste  chisel  of  a  Donatello,  and  colored  with 
the  brush  of  a  Luccadella  Robbia. 

There  is  one  pathetic  feature  about  this  design  to  be 
noted.  Mr.  Burnham  has  presented  to  the  Lake  Front 
the  choicest  specimens  of  the  trees  around  Chicago  that 
he  has  known,  and  with  tears  in  his  eyes  has  trimmed 
them  to  the  shapes  the  plan  demanded.  He  has  also  en- 
dowed the  city  with  the  cow  seen  in  the  foreground,  which 
is  the  very  one  that  has  so  long,  to  the  joy  of  Evanston, 
browsed  on  his  front  lawn.  What  greater  self-abnegation 
has  the  world  seen  !  Louis  H,  Sullivan. 

*'  No  longer  seek  in  foreign  climes 

For  nature's  beauties,  mountains,  trees, 
We  have  them  here  beyond  all  times. 
By  far  more  grand  than  over  seas. 
What  waste  of  waters,  ceaseless  waves  ! 

What  towering  peaks  snow-capped — in  black ! 
And  when  the  stranger  comes  and  raves, 
We'll  get  all  our  assessments  back." 

Charles  Norman  Fay. 


25.    SOME   TREES   AROUND   CHICAGO. 

(Photographs  ) 

The  Christmas  Tree, 
The  Golf  Tree, 
The  Boodle  Tree. 

"  These  beautiful  photographs  will  not  surprise  those 
lovers  of  nature  who  are  in  the  habit  of  exploring  our  lanes 
and  by-ways.     The  first  of  the  three  was  imported  many 

18 


years  ago  and  still  continues  to  thrive  and  bear  fruit  an- 
nually. The  second  is  a  most  hardy  exotic,  which  flour- 
ishes excellently  when  grafted  on  native  saplings.  The 
third  is  indigenous  to  the  soil,  and  such  a  rapid  grower  that 
it  threatens  to  root  out  all  other  forms  of  vegetation  within 
the  city  limits  before  many  years  are  past. 

N.  B. — What   I   don't  know  about   trees  isn't  worth 
knowing."  John  V.  Farwell,  Jr. 


Wait,  Horatio  Loomis 

Educated  in  Paris,  where  he  was  employed  in  divers  capacities 
in  the  studios  of  eminent  Marine  Painters.  Studied  under 
Apollonaris  Waters,  R.  A.,  where  his  style  gained  its  sparkling 
and  effervescent  characteristics. 

26.     A   NAVAL  SCENE. 

'*  The  artist  has  aptly  caught  the  rollicking,  reeking 
power  of  the  natural  elements.  He  has  breathed  upon 
canvas  the  spirit  of  the  deep.  The  belly  in  the  sail  shows 
to  a  nicety  the  direction  and  force  of  the  wind.  The  keen, 
questioning  glance  of  the  eye  at  the  foretop  suggests  even 
to  those  who  do  not  habitually  *  go  down  to  the  sea  in 
ships,'  the  possibility  of  nautical  dangers,  the  sunken 
reefs  (in  the  sail)  and  the  submerged  rocks.  This  effort 
alone  would  entitle  the  artist  to  rank  as  one  of  the  great 
three-masters  of  marine  painting." 

LORING  W.  MESSER. 


Smith,  Edwin  Burritt 

Pupil  of  Diogenes.  Gold  Medal,  1896,  for  portrait  of  Mr.  Wm.  J. 
Bryan.  I,ibel  Suit,  1S98,  for  a  study  called  Hinky  Dink  and 
the  Bath  House. 


27.     A  PALPABLE  HIT. 

"■  The  artist  has  depicted  fine  action,  and  the  compo- 
sition shows  great  dignity  in  treatment.    The  weakness  ot 

19 


the  picture  is  in  the  subject  rather  than  the  execution. 
High  art  requires  no  tale  to  be  told,  and  tilting  at  wind- 
mills is  an  old  story."  NORMAN  Williams. 


Johnson,  Herrick 

Pupil  of  David.     Honorable  Mention  for  his  distilled  water- 
colour.    Author  of  brochure,  "Actresses  Whom  I  Have  Saw." 

28.  MY  IDOL. 

*' Positively  entrancing;  delicious  in  rendering  ;  charm- 
ing in  color  ;  a  thing  of  beauty,  instinct  with  life." 

Daniel  L.  Shorey. 

29.  LIBRARY     OF    THE    CHICAGO     LIKERARY 

CLUB. 

''This  picture  is  a  water  color  on  the  classic  lines  that 
Mr.  Johnson  so  faithfully  learned  from  his  great  French 
(not  Hebrew)  master.  If  any  body  likes  this  kind  of 
picture,  why,  then,  this  is  just  the  kind  of  picture  he  will 
like.  But  it  is  entirely  foreign  to  the  spirit  of  this  exhi- 
bition, and  I  must  protest  against  the  implication  which  it 
is  likely  to  convey  to  the  outside  public.  I  am  sure  that  I 
have  seen  no  such  lay-out  at  the  C.  L.  C.  in  the  past  two 
years."  ROBERT  Toddy  Lincoln. 


Pond,  Irving  Kane 

Pupil  of  Augelo  and  Wrenn  (now  dead);  has  been  known  to 
speak  well  of  the  works  of  these  gentlemen  and  oi  Ictiuus 
(who  also  is  dead).  Kleve  du  Gymnase  Y.  M.  C.  A.,  where  he 
received  a  black  eye  and  other  decorations  at  the  January 
Salon,  1898. 

30.     AN  ELIZABETH-ANN  MANSHUN. 

"  This  is  the  principal  expose  of  one  of  our  most  notori- 
ous painter-architects.     While  as  a  picture  it  may  be  a 


work  of  art,  as  an  architectural  composition  it  is  a  flat 
failure.  The  fenestration  is  frivolous,  and  the  massing 
mountainous.  The  pattern  in  the  frieze  is  too  warm  in 
tone  and  besides  it  is  misplaced.  It  would  be  more  appro- 
priate under  a  bay  window  or  just  above  the  underpin- 
ning. Manshun!  why  shun?  Why  not  ^pity-then  em- 
brace ?  '  That  is  the  attitude  of  the  public  toward  archi- 
tecture— not  pity,  but  embrace — swallow  with  relish  any 
truck,  however  tasteless.  Elizabeth-Ann !  Wherein  lies 
the  appropriateness?  Why  not,  rather,  Yvette-Susanne  ? 
Pooh,  Pooh,  Pah !  Clarence  A.  Burley. 


Stirling,  William  Robert 

Born  in  Cork,  Ireland,  1872.     Pupil  of  Sir  William  Bessemer. 

31.  A.  B.  P.  IN   GOLF. 

"  Na  siccan  Sir  Walter  hae  the  Scott  speered  so 
mickle.  In  bukes  he  is  and  noo  in  golf.  'Tis  a  sonsie 
bairn  ye  hae  anent  ye.     Hoot  mon.  Fore  !  Fore  !  " 

Thomas  D.  Jones. 

Silsbee,  Joseph  Lyman 

Kducated  at  the  Syracuse  Kindergarten  and  Grammar  Schools; 
later  pupil  of  the  Universal  Lumber  Co.,  and  of  the  Edgewater 
College  of  Golf  and  Decorative  Art. 

32.  SENTIMENT  AND   SOLIDITY. 

A  cartoon. 

'•  It  is  impossible  to  fathom  the  real  significance  of  this 
production.  In  all  my  experience  on  the  drainage  canal 
I  never  saw  such  a  drawing.  I  will  willingly  submit  to  a 
jury  of  my  fellow-citizens  that  the  floral  emblem  is  stolen 
from  the  worthy  Secretary  of  the  C.  L.  C.  in  plain  viola- 
tion of  the  copyright  laws.  The  lettering  N.W.N.  B.  K. 
and  the  several  words  seem  to  form  a  cipher ;  and  the 
money  bags,  the  shadowy  female  and  the  two  hearts  are 
undoubtedly  symbolical.     It  will  be  necessary  to  submit 


the  bordereau  to  a  board  of  experts  before  attempting  to 
explain  it.  But  I  fear  that  it  is  the  mask  of  some  deep 
villainy,  having  its  origin,  perhaps,  in  some  diabolical 
Spanish  plot.  The  fact  that  it  purports  to  come  from  an 
architect  serves  rather  to  enhance  my  suspicions.  Archi- 
tects are,  beyond  peradventure,  a  very  scaly  lot." 

George  E.  Uawson. 


Perkins,  Herbert  Farrington 

Expelled  from  Sheffield  Scientific  School.  Dishonorable 
Mention,  Paris,  1890.  Refused  admission  to  Amsterdam  and 
Havana. 


33.     FAMILY   SECRETS. 

"Exquisite,  but  premature  and  exaggerated." 

Rudolph  Matz. 


Scott,  Frank  Hamline 

student  at  Zuni  Pueblo  and  Milwaukee.  Pupil  of  Joseph 
Schlitz  and  Hiram  Walker ;  shows  also  the  influence  of  An- 
heuser-Busch and  Glen  Lyon. 


34.     DESIGN  FOR  A  POSTER. 

"  Well  now,  isn't  it  a  Buster !  " 

Horace  S.  Oakley. 

34>^.     A   SNAKE   DANCE, 

"I  know  all  about  art;  I'm  what  they  call  a  conny- 
shure;  and  I  tell  you  candidly  that  this  is  the  greatest 
work  exposed  in  Chicago  since  that  Belgian  collection  was 
auctioned  off  over  in  Studebaker's  building.  George  Holt 
and  I  saved  that  collection  to  the  city.  This  Snake  Dance 
is  true  expressionism  ;  see  the  intensity  of  feeling  depicted 
by  so  few  lines  ;  it  has  the  gruesome  power  of  that  Russian, 
Veryshockiug.  The  Munich  symbolists  are  weird  to  a  de- 
gree ;  but  they  aren't  in  it  with  Scott,  or  I'm  no  judge.    If 


this  picture  were  to  be  put  up  at  auction,  I  would  buy  it 
for  the  Union  League  Club  bar  room;  I  would 'pon  my 
honor."  JOHN  BARTON  Payne. 


Hutchinson,  Charles  Lawrence 

Pupil  of  Pharaoh,   Jr.    Late  of  Karnac.     Step-father  of  the 
Chicago  Art  Institute.     Honorable  Mention,  Roma,  1S94. 

35.  THE  FATHER  OF  HIS  COUNTRY. 

*'It  is  a  relief  to  find  a  satisfactory  picture  of  Wash- 
ington without  the  hatchet,  cherry-tree,  or  rear  elevation 
of  a  horse ;  but  the  effect  of  the  artist's  Egyptian  research 
is  very  apparent.  Too  much  grave  robbing  among  the 
tombs  of  the  Pharaoh's  has  left  its  impression  upon  his 
technique."  Martin  A.  Ryerson. 


Hyde,  James   Nevins 

student  of  Ecole  de  Medecine.  Rue  de  I'Ecole  de  Medecine, 
Paris,  France.  Pupil  of  Henner.  Bougereau  and  Skinner. 
Leather  Medal  expected  at  Exposition  Internationale  at 
Morocco  in  1920. 

36.     APOLLO   FLAYING  MARSYAS. 

"A  work  remarkable  for  vigor  of  handling  and  for  well- 
balanced  composition.  We  note  the  masterly  treatment 
of  detail  for  which  Mr.  Nevins  Hyde  is  famous ;  and  yet 
all  details  are  carefully  subordinated  to  the  main  theme. 
At  first  blush  one  is  surprised  at  the  choice  of  a  mytholo- 
gical subject  ;  but  the  scientific  modernity  of  the  treat- 
ment reconciles  us;  and  moreover  Mr.  Nevins  Hyde  in  his 
selection  of  subject  has  unconsciously  illustrated  two  deep 
spiritual  laws, — the  unity  of  art  and  the  subtile  influence 
of  heredity  and  kinship.  The  Nevinses  stand  for  the 
highest  conception  of  the  ballad ;  and  Mr.  Nevins  Hyde 
is  drawn  by  occult  sympathy  to  find  in  the  contest  of 
Apollo  with  Marsyas  a  prophecy  of  the  ultimate  destruc- 

23 


tion  of  the  Chas.  K.  Harris  school  of  ballad  music.  When 
^  it  comes  to  technique  and  execution,  Mr.  Nevins  Hyde  is 
right  up  in  G  ;  the  precision  of  his  attack  is  admirable  ; 
he  has  produced  in  this  work  a  symphonic  poem  in  color 
worthy  to  rank  with  Tschackowsky's  1812.  I  think,  how- 
ever, that  he  ought  to  undertake  something  more  essen- 
tially American — something,  for  instance,  in  the  old  dog 
Tray  line."  Frederic  W.  Root. 

Aldis,  Owen  Franklin 

Shows  no  signs  of  having  been  educated  and  no  evidence  ot 
repentence. 

37.  A  SKY  SCRAPER. 

"  The  treatment  of  the  subject  lacks  originality.  The 
monumental  proportions  are  fairly  preserved,  but  the  ped- 
estal is  too  large  for  the  central  figure.  Its  chief  merit  is 
its  faithful  representation  of  the  artist  in  his  favorite  act 
of  foozling."  Slason  Thompson. 

Fullerton,  Charles  William 

38.  PORTRAIT  OF  GENERAL  LEAKE. 

"  The  importance  of  the  executive  department  in  the 
last  appeal  known  to  mankind  is  well  expressed  in  this 
determined  countenance.  Would  that  pure  primaries  and 
civil  service  reform  had  the  support  of  such  men. 

John  H.  Hamline. 

Shortall,  John  George 

studied  abstract  art  at  an  early  age.     Pupil  of  Howard.     Au- 
thor of  "  The  Horse  Heaven,  a  Homiletic." 

39.  THE   GIRL   I   LEFT   BEHIND   ME. 

''This  requires  an  explanation." 

Cyrus  H.  McCormick. 

24 


40.     AN   APPARITION. 

"No  such  delicacy  of  touch  in  rendering  the  beauty 
and  appeaUng  helplessness  of  infancy  could  be  expected 
of  the  artist  from  any  former  example  of  his  work.  He 
would  rather  be  expected  to  treat  this  subject  in  severe 
style."  Irving  Kane  Pond. 


Jackson,  Huntington  Whistler 

Bom  at  Red  Bank,  Dak.  Studied  in  Pullman  Paint  Shop.  Fa- 
vorite pupil  of  R.  J.  Gunning  (the  inventor  of  the  system). 
Medal  of  Honor  at  Stock  Yards  for  daring  use  of  pigments. 

41.    GETTYSBURG. 

*'The  chief  difficulty  in  painting  battle  pictures  is  to 
combine  the  detail  necessary  to  excite  individual  interest 
with  a  broad  enough  view  to  convey  a  general  idea  of  the 
field  of  conflict.  Colonel  Jackson  is  to  be  congratulated 
upon  getting  all  that  there  was  of  Gettysburg  upon  his 
canvas.  There  is  something  in  the  bearing  of  the  chief 
figure  of  this  picture  which  reminds  me  of  the  one  bestrode 
by  my  great  namesake."  Frank  H.  Scott. 


Lathrop,  Bryan,  of  Graceland,  Esq.,  Gent. 
42.     DESIGN  FOR  A   HEAD  STONE. 

"  My  friend  Lathrop  is  a  globe-trotter  of  the  first  mag- 
nitude. What  he  can't  tell  you  about  Japanese  women 
isn't  worth  knowing.  It's  a  queer  fad,  though— this  fad 
he  has  of  designing  tombstones  for  his  friends.  But  he's 
a  good  one  at  it,  and  his  designs  go  right  along  with  the 
Taj -Mahal  every  time.  There  is  always  such  an  intrinsic 
fitness  about  his  designs  that  even  Fred  Hild  can  usually 
tell  what  he  is  aiming  at.  My  brother  owns  a  Venetian 
palace,  and  I'm  naturally  a  good  judge  of  design — sort  of 
caught  it  like  malaria — and  I  think  this  one  is  a  daisy. 
By  the  way,  the  other  day  I  asked  Frank  Head  how  he 

25 


justified  his  historico-literary  fabrications,  and  he  only- 
laughed  and  sang  this  stanza  : 

"  It  doesn't  matter  what  you  do, 
If  your  art  is  true; 
And  my  art  is  true  to  Poll." 

Owen  F.  Aldis. 

Starr,  Merritt 

Pupil  of  Diaz  and  Vonnoh.  Shows  some  traits  of  the  Fitzsim- 
mons-Corbett  school.  Award  of  Merritt  on  his  first  appear- 
ance. Frequent  subsequent  mention,  complimentary  and 
otherwise  (mostly  otherwise) . 

43.    AN  IDYL  OF  THE  FIELDS. 

"This  picture  appeals  to  me  strangely;  it  makes  me 
think  of  Lake  Geneva,  of  the  homely  joys  of  rural  life,  of 
the  lowing  herds,  and  of  the  milkmaids.  I  never  saw 
'  idle '  spelled  that  way  before  ;  but  every  one  knows  that 
cows  and  pigs  are  idle  beasts.  I  never  made  much  money 
in  cows,  but  I  know  cow  color  when  I  see  it  ;  and  th  s 
color  scheme  is  all  right;  it  shows  that  this  young  man  is 
in  the  very  forefront  of  the  luminist  school,  a  real  advance 
agent  of  the  spectrum  bill-poster  school  of  art.  I  am  told 
that  the  personality  of  the  artist  is  somewhat  marred  by  a 
vanity  that  is  shriller  than  Whistler's;  but  one  can  pardon 
vanity  to  Merritt,  and  I'm  going  to  help  this  young  chap 
along— the  fact  is,  if  I  can  find  the  cow  he  copied  that 
picture  from,  I'm  going  to  buy  it— the  cow,  I  mean,  not 
the  picture.     I  believe  in  fostering  the  arts." 

Nathaniel  K.  Fairbank. 

43X.  DESIGN  FOR  BOOK  PLATE  AND  SEAL 
FOR  THE  C.  L.  C. 

"  They  say  an  honest  confession  is  good  for  the  soul. 
Well,  then,  bless  my  soul,  but  I  don't  see  any  Merritt  in 
this  design.  It  might  do  for  branding  Pribilof  seals,  but  I 
can't  imagine  any  one  using  it  for  a  book  plate." . 

George  R.  Peck. 

26 


Payne,  William  Morton 

Pupil  of  Sappho  and  Rossetti.  Student  of  Newspaper  Slang. 
Medal  of  Honor  at  the  International  Exhibition  of  Carica- 
tures, Stockholm,  1896. 

44.     THE   DIAL, 

"A  grand  and  lofty  portrait,  gothic  in  its  simplicity 
and  elevation  of  motif,  and  with  a  face  so  lucid  in  its  ex- 
pression that  he  who  runs  may  read  ($2  per  annum  in  ad- 
vance). Its  benignity  seems  to  say,  but  with  no  suggestion 
of  real  pain,  '  Tick  dollar  owe  !  Tick  (two)  dollar  owe  ! ' 
'  with  true  editorial  solicitude.'  The  artist  is  to  be  con- 
gratulated on  having  so  timely  a  subject  and  upon  the 
objective  manner  in  which  he  has  encased  it.  (See  Rolston 
for  estimates)."  William  S.  Oppenheim. 


Lrloyd,  Henry  Demorest 

A  widely  cultivated  artist,  who  learned  the  distinction  between 
truth  and  falsehood  in  the  Tribune  office,  mastered  the  science 
of  statistics  with  the  Standard  Oil  Co.,  and  pursued  the  study 
of  cosmology  at  the  Yerkes  observatory  ;  honorable  member 
of  the  Ancient  Order  of  Dilatory  Hod  Carriers  ;  associate  mem- 
ber of  the  Amalgamated  Federation  of  Labor  Shirkers  ;  some- 
time pupil  of  Carl  Marx,  and  himself  the  author  of  numerous 
oft-quoted  remarks. 

For  example:  "All  is  not  gold  that  glitters."  "The 
laborer  is  worthy  of  his  beer."  "  Bottled  evolution  developes 
latent  heat  and  results  in  revolution."  "Art  should  be  the 
hand-maid  of  humanity."  "Environment  moulds  man,  but 
men  may  mould  environment,  and  by  stealing  a  march  get 
the  better  of  fate— Q.  E.  D.",  etc.,  etc.,  etc. 

45.     THE   WORLD   AS   I   SEE   IT. 

"It  is  a  surprise  to  me  that  the  kunst-bild  fest  com- 
mittee did  not  hang  the  painter  instead  of  the  painting. 
Every  freeborn  American  child,  educated  in  the  noble 
common  schools  that  we  so  generously  provide  for  the 
children  of  our  fellow-citizens,  knows  that  the  world  looks 
no  more  like  that  than  it  does  like  a like  a 

27 


like  a  toadstool,  I  must  acknowledge  that  the  dis- 
contented sullen  expression  on  the  mechanic's  face  is  quite 
realistic  ;  such  people  never  think  of  being  thankful  that 
the  attraction  of  gravitation  keeps  them  from  falling  ofit 
entirely  and  getting  their  just  deserts.  If  this  is  the 
'beauty  of  local  color'  that  Hutchinson  talks  about,  I 
prefer  Bougereau.  This  rubbish  about  the  poetry  of  the 
commonplace  and  the  tragedy  of  the  actual  is  distinctly 
anarchistic  and  socialistic  in  its  tendency  and  ought  to  be 
suppressed."  Albert  A.  Sprague. 


Blatchford,    Eliphalet   W. 

Sometime  student  of  the  Ecole  de  Beaux  Arts  de  West  Side. 
Author  of  "  The  World's  Three  Great  Libraries,"  etc. 

46.     SUGGESTION   FOR  A  LIBRARY  BUILDING. 

"This  daring  'projet'  fills  me  with  astonishment  and 
admiration.  How  simple,  how  courageous,  how  fitting, 
how  inevitable !  And  yet  it  should  have  been  foreseen 
that  the  great  modern  commercial  communities  would 
discover  a  wholly  new  type  of  library  building  in  harmony 
with  the  environment  and  the  communal  life.  And  what 
motive  so  appropriate  as  that  of  a  shot-tower — according 
as  it  does  with  the  necessity  for  the  economy  of  land,  and 
with  the  industrial  idea  and  with  the  sky-scraping  idea ! 
We  have  herein  merely  the  full  evolution  of  the  stack 
motive  developed  naturally  and  in  perfect  harmony  with 
local  conditions.  This  building  expresses  in  tangible  form 
the  essential  principles  of  the  new  art." 

Clement  W.  Andrews. 


Brown,  Edward  Osgood 


Graduate  of  the  "  School  of  Experience. ' '  Pupil  of  Blackstone 
and  Henry  George.  Diploma  at  North  Side  Turner  Hall- 
Honorable  Mention  at  Hull  House. 


28 


47.  SINGLE  TAX— A  VISION. 

"  Heretofore  my  friend  Brown  has  only  done  still-life 
subjects — cabbages,  chestnuts,  and  the  like  ;  now,  feeling 
the  pulse  of  the  market,  he  has  joined  the  ranks  of  the 
aggressive  group  who  seek  to  depict  life  it  its  more  vital 
phases.  In  this  ''  Vision  "  he  has  at  a  single  bound  reached 
the  acme  of  pictorial  art — namely,  the  portrayal  of  a 
repose  implicit  with  the  prophecy  of  immediate  action. 
The  doctrine  that  art  should  suggest  more  than  it  tells, 
cannot  possibly  be  carried  to  a  higher  degree  of  perfec- 
tion. It  makes  it  perfectly  clear  that,  when  Brown  gets 
the  single-tax  theory  squarely  under  the  public  notice,  the 
issue  cannot  longer  be  avoided.  I  strongly  hope  that  the 
crisis  may  be  avoided  until  I  have  a  chance  to  protect  my 
interests  ;  just  now  I  am  exceeding  busy  puncturing  the 
civil  service  regulations  and  patching  the  currency  sys- 
tem." Lyman  J.  Gage. 

Dent,  Thomas 

Pupil  of  Ulysses  S.  Grant.     Also  studied  under  Joseph  Hooker 
and  Rufus  Choate. 

48.  TRIAL  BY  WAGER  OF  BATTLE. 

"  It  is  impressive  to  see  how  the  humanities  struggle 
for  mastery  in  this  incomparable  picture.  The  grace  of 
movement  suggested  is  equaled  only  by  the  artist's  deli- 
cacy in  coloring.     It  is  a  pleasure  to  see  such  work. 

Adolphus  C.  Bartlett. 


Nelson,   Murry 

Born  on  a  farm  in  New  Jersey.    Pupil  of  Horace  Greeley. 

49.    HARVEST   IN   CHICAGO. 

''This  is  the  kind  of  picture  I  like.     It  really  means 
something."  Chales  H.  Hulburd. 

29 


''This  delicate  bit  of  genre  chiaroscuro,  by  Mr.  Murry 
Nelson,  is  one  of  the  gems  of  this  exhibition.  It  is  in- 
tensely impressionistic  in  conception  and  at  the  same  time 
sternly  realistic  in  execution.  The  aerial  perspective  is 
boldly  treated,  although  as  a  whole  the  composition  is 
somewhat  lacking  in  action.  Mr.  Nelson  is  probably  the 
finest  exponent  of  the  Indiana  avenue  school,  which  has 
produced  so  many  works  of  sterling  merit.  He  will  per- 
haps be  best  remembered  for  his  historical  work  of  some 
years  ago,  entitled,  "Squeezing  the  Shorts." 

"  Mr.  Nelson  is  sometimes  a  trifle  too  sentimental  and 
imaginative  in  his  work,  but  this  is  probably  the  effect  of 
the  school  with  which  he  associates  himself.  It  is  impos- 
sible to  escape  this  tendency  with  such  tender,  aspiring 
souls  as  N.  K.  Fairbank  and  Norman  Williams. 

Charles  D.  Hamill. 


Green,  Oliver  Bourne 

Professor  of  Music  and  Drawing  in  the  Calliope  Academy,  Cook 
County.  The  great  number  of  his  sails  reputed  to  be  due  to 
the  artistic  quality  of  his  work  as  well  as  to  his  pull  with  the 
ship  owners. 

49^.     SPRING  LANDSCAPE. 

"This  canvas,  meo  judice,  is  absolutely  stale,  flat  and 
unprofitable.  The  green  is  not  the  real  Paris  green,  but 
a  sort  of  bastard  mixture  of  Chicago  river  water  and  ver- 
digris. O.  B.,  your  drawing  may  be  all  right,  but  hang 
your  music  and  your  color."  Chas.  S.  Holt. 

49%.     MARINE. 

"This  genial  artist  has  long  stood  in  the  front  rank  of 
our  local  marine  painters,  and  keeps  a  warm  place  in  the 
public  heart.  The  picture  which  Mr.  Green  sends  is  not 
one  of  his  best,  as  it  is  certainly  somewhat  lacking  in  spirit, 
although  it  is  painted   intelligently  and   with  a  certain 

30 


vigor.  He  knows  his  river  as  few  painters  do,  and  his 
treatment  of  the  flesh  tints  in  the  water  is  admirable ;  it 
might  almost  be  said  that  he  had  realized  the  painting  of 
odors. 

"The  treatment  of  tugs  and  mudscows  is  perhaps  a  trifle 
too  severely  realistic.  There  is,  however,  plenty  of  atmos- 
phere of  a  certain  sort  in  the  picture  ;  indeed,  it  is  difficult 
to  avoid  this  in  paintings  of  this  locality. 

"Mr.  Green  will  always  be  remembered  for  his  delight- 
ful studies  in  tug- whistles  and  smoke."' 

Edward  G.  Mason. 


Farr,  Marvin  Andrus 

Pupil  of  Euclid.  Member  of  Humboldt  Park  Academy  of 
Design  and  the  Real  Estate  Board.  Honorable  Mention  on 
manv  vacant  lots. 


51.    COUNTRY  LIFE. 

Scene  in  Sec.  32,  Town  47  N.,  Range  13  West. 
"Very  promising."  Uavid  B.  Lyman. 


McPherson,  Simon  John 

Pupil  of  Calvin.     Studied  also  under  Shakespeare  and  Ibsen. 

52.     THE  PROMISED  LAND. 

"A  glorious  conception.  Here  is  my  dream  of  the 
future  completely  realized.  Art  can  go  no  further ;  poetry 
is  not  equal  to  the  expression  of  such  fervent  passion ; 
paint  alone,  in  the  hands  of  a  great  master,  can  adequately 
portray  our  visions  of  the  world  to  come." 

Emil  G.  Hirsch. 


31 


Holt,  George  Hardwood 

Born  in  the  Backwoods  once  upon  a  time.    Pupil  of  Sawyer. 
Also  studied  under  Von  Schlaussenheimer. 

53.    OUR  PERMANENT  SECRETARY. 

"This  speaks  for  itself." 

Charles  G.  Fuller. 

'^  In  all  my  large  experience  I  never  surveyed  such  a 
wretched  attempt  at  portraiture  ;  I  could  do  a  better  job 
on  a  fence  with  a  transit.  I  should  think  that  this  sort  of 
painting  would  properly  take  rank  just  about  ten  thousand 
miles  below  city  datum.  But  then  who  could  do  justice  to 
Gookin  ?  Perhaps  I  may,  when  I  have  surveyed  my  title 
clear  to  the  heavenly  hill  of  art." 

Samuel  S.  Greeley. 


Sullivan,  Louis  Henry 

Born  in  Benares,  Septembers,  1356.  Reincarnated  in  Boston 
three  centuries  later.  Pupil  of  the  Ecole  de  Bozar,  Paree- 
Later  studied  under  himself. 

54.    DESIGN  FOR   CHAIR. 

"This  is  Dr.  Sullivan's  latest  work.  It  might  be  well 
named  the  Apotheosis  of  L.  H.  S.  To  design  a  chair  for 
time  !  What  well  deserved  luck  !  And  what  perfect  har- 
mony with  its  surroundings  is  exhibited  in  its  pure  and 
chaste  design.  Well  may  Fame  deserve  a  rest.  But  the 
eager  multitude  still  clamor  for  more,  and,  as  you  may 
note,  there  are  more  to  be  had.  He  simply  throws  them 
off.  N.  B. — The  costume  that  Mr.  S.  wears  on  this  occa- 
sion is  that  which  he  has  designed  for  his  semi-tropical 
home  in  the  South."  Williaivi  Morton  Payne. 

55     AN  ARCHITECTURAL   POEM. 

"  In  this  masterly  design  we  have  what  every  compe- 
tent  judge   will    recognize    as    a    completely    successful 

32 


attempt  to  give  organic  and  poetical  expression  to  the 
affairs  of  daily  life  in  this  generation.  Note  how  cleverly 
the  national  colours  are  worked  into  the  entrance  arch- 
way. Then  observe  the  novel  yet  chaste  and  lovely  arab- 
esques (Turkabesques,  Mr.  Sullivan  calls  them),  which 
form  the  frieze  and  redeem  the  facade  from  the  uncom- 
promising severity  that  would  otherwise  make  it  common- 
place." Daniel  H.  BuRNHAM. 

Zeisler,  Herr  Professor  Joseph,  M.  D. 

Graduate  in  philosophy  at  Heidelberg,  in  medicine  at  "Vienna, 
in  music  at  Berlin,  in  art  at  Chicago.  Now  bacteriologist  in 
chief  to  Mrs.  Honore  Palmer,  queen  of  the  North  Side,  and  to 
Miss  Jane  Addams,  queen  of  the  West  Side.  [N.  B.— The 
South  Side  is  an  Ochlocracy  and  has  no  queen.] 

56.     A  CARTOON   BACTERIOLOGIQUE. 

A    Bacillus  pictoris.  ' 

This  little  beast  shows  at  a  glance  its  true  nature. 
Unlike  many  other  bacteria,  it  requires  years  for  its  full 
development.  Among  the  chief  symptoms  which  it  causes 
are  color  blindness  and  astigmatism.  The  poor  victim 
loses  all  sense  of  perspective  or  of  anatomical  truth.  Now 
at  last  we  have  an  explanation  for  such  manifestations  of 
art  as  the  impressionist  school,  notably  that  of  Glasgow. 

B    Bacillus  poeticus. 

This  parasite  is  responsible  for  one  of  the  most  virulent 
diseases  of  the  social  body,  which  has  been' called  in  Ger- 
many "  Dichteritis,"  or  might  be  termed  "  Mania  scriba- 
toris."  Pure  cultures  of  it  can  be  found  among  the 
followers  of  what  is  known  as  the  realistic  school,  viz.: 
Zola,  Ibsen,  Maeterlinck,  Chatfield-Taylor  and  others. 

C    Bacillus  musicalis. 

This  is  only  a  representative  of  a  large  class  of  sinister 
micro-organisms.    There  is  hardly  a  household  in  which 

33 


the  species,  B.  pianensis,  is  not  found.  It  is  specially 
destructive  to  the  eardrums  of  innocent  neighbors.  The 
other  variety,  B.  chordatus  or  violinensis,  is  less  frequent, 
but  equally  pernicious.  The  B.  mandolinatus  is  chiefly 
found  inj  nooks  and  corners  at  social  affairs,  during  the 
summer  in  boating  and  other  excursions.  A  specially 
virulent  form  is  the  B.  musicalis  programmatus.  It  is 
found  in  composers  of  the  type  of  R.  Strauss  and  F.  Root. 


D    Bacillus  aldermanicus. 

This  pernicious  parasite  has  been  long  felt  in  Amer- 
ican politics  before  being  discovered.  It  causes  the  dis- 
ease known  as  "  Aldermania,"  of  which  the  majority  of 
the  City  Council  appears  seized. 


E    Bacillus  golfophilus— s.  wheatonensis. 

This  club-shaped  bacillus  has  developed  in  our  litera- 
ture only  within  the  last  few  years,  but  has  caused  one  of 
the  most  mfectious  and  catching  diseases,  Golfomania. 
This  disease  is  found  in  its  most  acute  form  at  Wheaton, 
wherefrom  the  name  of  the  parasite.  Even  doctors  are 
not  immune  against  it,  viz.,  Fiske. 

"  The  crude  disciples  of  the  elder  art  have  depicted 
death  scenes  galore,  Rembrandt  even  progressed  so  far  as 
to  picture  a  group  of  surgeons  watching  an  anatomist  at 
work.  But  it  has  remained  for  the  Herr  Professor  Zeisler 
to  put  the  capstone  to  the  arch  of  beauty  by  finding  a 
theme  for  pictorial  art  in  the  bacteria  that  pre-occupy  us 
as  the  ether  pre-occupies  space.  Here  is  the  veritable 
Ultima  Thule  of  Art  ;  here  local  color  and  the  idealizing 
of  the  scientific  are  alike  pushed  to  the  farthest  verge — 
far  be  it  from  me  to  say,  quite  pushed  off  into  the  limbo  of 
unideality.  This  is  a  proud  day  for  the  medical  profession 
of  Chicago,  for  to-day  and  forever  Taft  and  Zeisler  shall 
walk  arm  and  arm  down  the  corridors  of  time." 

Emilius  C.  Dudley. 

34 


French,  William  M.  R. 

Born  in  Concord,  N.  H.,  1833.    Pupil  of  Bougereau. 

90.  PORTRAIT  OF  ALLEN  B.  POND,  DRAWN 
FROM  THE  BUST  BY  LORADO  TAFT. 

"A  musical  dream."  Joseph  Adams. 


Peirce,  James   Harvey 

Non-resident  member  of  the  C.  L.  C.  by  patent-right;  now  of 
Reikiavik.    Head-Scald  to  His  Majesty,  Christian  of  Denmark. 

92.     PORTRAIT  OF  I.  K.  BOY'S  SON. 

"  Worthy  of  any  old  master." 

Abram  M.  Pence. 


McCormick,  Alexander  Agnew 

studied  at  the  Philadelphia  Post-office  and  the  Wanamaker 
Academy  of  Advertising  and  Fine  Art.  First-class  Medal  for 
his  $3.00  Sunsets.  Honorable  Mention  for  deportment  at  the 
Marquette  Supscription  Dances. 

100.     ST.  GEORGE  AND  THE  DRAGGING. 

"Thus  does  history  repeat  itself.  Here  at  P^t.  Sheri- 
dan, on  the  shores  of  the  inland  sea,  we  find  the  old  legend 
of  St.  George  re-enacted."  Edward  G.  Mason. 

"  This  picture  is  a  dandy.  It  shows  that  true  art  is,  in 
its  last  analysis,  quite  independent  of  composition,  draw- 
ing and  color.  For  though  this  work  has  none  of  these 
elements,  it  is  abnormally  beautiful." 

W.  M.  R.  French. 

loi.     SLASON  THOMPSON,  A  PORTRAIT. 

"This  explains  itself  and  also  the  degradation  of  the 
press."  John  J.  Schobinger. 

35 


Long,  James  H. 

Educated  at  home  and  shows  it. 

102.     PORTRAIT  OF  JOHN  G.  SHORTALL. 

"A  home  product  which  does  not  need  protection." 

George  E.  Adams. 


Gookin,  Frederick  William 

Formerly  of  Tokio  ;  said  to  have  descended  from  Fuji-san,  the 
central  figure  in  Japanese  art. 

103.    JAPANESE  IDYL. 

"  It  was  to  be  expected  that  Mr.  Gookin  would  show 
his  usual  clever  brush  work  and  his  high  mediocrity  of 
idea  ;  we  were  prepared  for  unity  and  simplicity  and  ex- 
quisite color.  But  this !  We  never  expected  this  of 
Gookin!"  William  T.  Belfield. 


Young,  Kimball 

Bachelor  of  Arts.     Sometime  fellow  of  the  Kirkland  School. 

104.    GENERAL  LEAKE  AT   STONE  RIVER. 

''This  striking  work  is  characterized  by  great  vigor  of 
execution,  and  shows  the  free,  dashing  style  of  Mr.  Young 
at  ^its  best.  It  is,  however,  plainly  one  of  his  earlier  pro- 
ductions and  lacks  the  suave  pencil  of  his  later  years. 
Why  Gen.  Leake  was  never  hung  before  we  do  not  know  ; 
but  he  well  deserves  it."  Walter  M.  Rowland. 


Root,  Frederic  W^. 

studied  at  South  Kensington  (one  and  one-half  miles  from 
Pullman.)  Pupil  of  Allegro  Alia  Zingara,  of  Adagio  Molto, 
and  of  the  original  Allegretto.  Diploma  of  Honor  for  "  Danse 
a  la  Scherzo  "  and  "  Downfall  of  King  Cole." 

36 


no.     RESOURCES    OF    MUSICAL    EXPRESSION. 

''  This  picture  is  exceedingly  attractive  to  me  because 
of  its  faithfulness  in  the  rendering  of  values ;  I  have 
found  this  quality  very  rare  in  the  artists  whom  I  have 
met  during  this  recent  period  of  depression.  And,  espe- 
cially worthy  of  note,  this  picture  keeps  up  the  interest  on 
long  acquaintance — a  very  sure  test  of  high  excellence." 

Elbridge  G.  Keith. 

III.     THE  REAL  AMERICAN    MUSIC. 

(A  BASE  CONUNDRUM.) 

"  Why  is  this  the  real  American  music  ?  Because  it's 
hard  to  beat."  William  R.  Harper. 

''Why  is  this  drum  like  the  Hydra?  Because  the 
more  you  knock  it  on  the  head  the  worse  you  are  off." 

Louis  J.  Block. 

"Why  is  the  drum  like  the  Chicago  Literary  Club ? 
Because  it  has  a  great  head."      Herbert  F.  Perkins. 

'■'■  Well,  why  did  Root  paint  such  a  measly  picture  any- 
how?    He  did'nt.     'Twas  George  Holt." 

F.    W.   GOOKIN. 


Ingolf  K.  Boyesen. 

Graduate  of  the  School  of  Jonah.     Pupil  of  Zorn. 

112.     DISCOVERY    OF   AMERICA   BY  THE   VIK- 
INGS. 

"  A  gold  medal  should  be  awarded  Ingolf  K.  Boyesen 
for  this  magnificent  canvas,  in  which  he  has,  in  such  a 
masterly  way,  represented  his  Viking  ancestors  discover- 
ing Rhode  Island — the  smallest  State  in  the  Union — 
"yeahs  and  yeahs  and  yeahs"  before  the  dastardly  Span- 
iards were  able  to  discover  such  a  large  place  as  South 
America.     What  archeeological  accuracy !     What  faith- 

37 


fulness  in  detail !  Note  the  triumphant  attitude  of  the 
proud  man  in  the  prow  (supposed  to  be  one  Ingolf)  and 
the  majestic  demeanor  of  the  stern  man  in  the  stern  (sup- 
posed to  be  one  Boyesen)  and  the  absent  look  of  the  man 
below  deck  (supposed  to  be  one  K)  !  What  sublimity  of 
conception  !  What  superbity  of  execution !  This  is  the 
real  art-icle  ;  there  are  absolutely  no  flies  on  this  picture. 

Henry  W.  Blodgett. 


McCormick,  Cyrus  Harvester 

studied  in  the  Blue  Island  Academy  of  Design.  Pupil  of 
Gates  and  Millet.  Prix  de  Chicago  for  "  The  Reaper's  Dream," 
1890.  Gold  Medal  for  "Haystack  a  la  Monet,"  1S93.  Honor- 
able Mention  for  "  The  Old  Mill,"  1897. 

120.  GOLD  PRODUCERS  IN  THE  KLONDIKE. 

"Conspicuous  for  breadth  of  treatment  and  for  faith- 
ful preservation  of  values.  Exceptionally  successful  in 
rendering  distance  so  that  it  shall  lend  enchantment  to 
the  view.  Picture  marred,  if  we  may  so  put  it,  by  too 
great  self-consciousness,  recalling  the  saying  that  'one 
who  travels  always  sees  that  which  he  brings  with  him 
from  home.'"  ARTHUR  D.  Wheeler. 


The  following  works  were  rejected  by  the  Vigilance 
Committee : 

"Shem  and  Japhheth"  .     .  Henry  M.  Bacon 
''The  Man  in  the  Malle- 
able Iron  Mask"  .     .     .  Edward  P.  Bailey 

*' My  Partner" Henry  M.  Bates 

"Postmortem"     ....  Nathan  S.  Davis,  Jr. 

"Symphony  in  Gangrene".  Henry  B.  Favill 

"Landscape  with  Coal"    .  James  W.  Ellsworth 

"  Spoiling  the  Child  "    .     .  John  C.  Grant 

"A  Joke" Franklin  H.  Head 

"Bringing  Home  the  Bride"  Blewett  Lee 

"A  Cracker" Frank  O.  Lowden 

"Plate  o'  Frogs"  (Koaks)  .  Paul  Shorey 

"Lot" Dunlap  Smith 

"Bust  of  A.  B.  Pond"  .     .  Lorado  Taft 


39 


PRESS  OF 

ROGERS   &   SMITH   CO, 

1*8-54  MONROE  STi 

CHICAQO 


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